Experimentum crucis.
    What follows after post-modernism: ultra-modern art?
    I would say ars gratia ex-artis, this is to be the state of my "outer art".  ?Por que?  !Por que no!
    It seems that I am an anti-talent to drawings and paintings in a traditional manner.  I even disregard this kind of art, which cas easily be replaced by mechanical reproduction.
    Therefore, I gathered nearly a quarter of my "anti-art" art-work done in Turkey, USA (here I got in touch with the straight art, in bright basic colors - yelow for the sun, blue for the sky, red for the fire, and black for the night, somehow naive, of Navajo, Zuni, Apache, Hopi, and Pima Indian tribes), and Mexico, between 1988-2000, in a paradoxist way:
        - painting for the non-painting's sake;
        - not drawings, but our every day's scribblings;
        - painting overlapping another painting;
        - found art in the wasting basket of the art;
        - fine ugly art;
        - para-art and contra-art;
        - art without art;
        - scientific art.
    All of the above procedures become, after a period of maybe shocking time, 'normal' (please read 'traditional') art.  Which later would be classified, in their turn, as supernuated.  And again they come back to life with a "neo" prefix art, because art is cyclic.
    Let's catch the paradoxism in art - an avante-garde movement I set up in 1980's, which is focusing on contradictions (art + antiart/nonart), heterogenity (art + science), innovation (new species of art).  Or savoir faire un chef-de-non-oeuvre, which paraphrases a French maxim: to know how to make the unmakable.  Or ars celare non-artem, which runs counter a Latin adage.

    Let's revolt against petrified "classicized" art, and fight for a New Art World Order.  And I would like to end with a Navaho language greeting, to see you next time, H`A  GOON`EH!

                                                         Florentin Smarandache,  The (Non)Artist